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Jason Koxvold

@kox

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2007

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artist, photographer, founder of @gnomicbook.
PDX & NY.

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FotoFilmic is thrilled to announce the 10 final photographers selected by our 5 esteemed Guest Editors to be published in the first JRNL Magazine issue this coming fall!

The selected photographers are (by alphabetical order):

– Greta Alexandra-Parker (USA)

– Lanna Apisukh (USA)

– Michelle Arcila (USA)

– Josh Aronson (USA)

– Eva Rivas Bao (Italy/Argentina)

– Bryan Birks (USA)

– Raul Guillermo (Peru/France)

– Joel Jimenez (Costa Rica/Spain)

– Maazin Kamal (Pakistan)

– Annie Marie Musselman (USA)

Each photographer will receive 10 full spreads in this first Magazine issue of JRNL to present their work to worldwide audiences. Magazine print copies will be released in Paris, France, during a special launch party on Friday, November 13th, in the middle of Paris Photo Week!

Last but not least, huge thanks to Guest Editors @katyhundertmark , @alex.kahl, @katzandrew, @kox, and @aaronstern__ for agreeing to spend countless hours in the middle of summer assembling such a groundbreaking family of photographic talents to kick off the new JRNL Magazine! 🙏💎

Head to the link in bio for more work previews, and selection details! 🌟

Photo Credits – All photos courtesy the artists.

Image 1 © @anniemariemusselman, from the series “What We Are Given”.

Image 2 © @evarivasbao, from the series and book Una Storia Italiana (Skinnerboox, 2026).

Image 3 © @apisukh, from the series Permanent Vacation.

Image 4 © @raulguillermoo, from the series Una Lágrima Inherete.

Image 5: © @joelr.jj, from the series Glimmers, Feathers and Staring Skies.

Image 6: © @gretaibelle, from the series Familial Intimacies, 2024- ongoing.

Image 7: © @maazinkamal, from the series Ranjish.

Image 8: © @jda.usa, from the series Florida Boys, 2020-25.

Image 9: © @bryanbirks, from the series Westward, Dear God.

Image 10: © @michelle.arcila, from the series You Wouldn’t Be So Depressed If You Really Believed in God.

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Photographs by Jason Koxvold (@kox)

🔥 SUBMIT YOUR WORK! We’re promoting photographers all the time (both here and on Substack), so please submit your work! Even if you’ve submitted before, we’d love to see your latest work! Link in bio.

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[IT]
Sono aperte le iscrizioni a Door Academy – Divergent Visions “Personal Vision” 2026/2027, master internazionale in fotografia autoriale e documentaria. Il percorso si propone come uno spazio di sperimentazione per sviluppare uno sguardo indipendente e completare un progetto fotografico in ogni sua fase.

Dettagli del programma:

Durata: 8 mesi (da inizio novembre 2026 a giugno 2027)
Modalità: Online (lezioni bisettimanali e sessioni 1:1 mensili) + incontro finale in presenza (settembre/ottobre 2027)
Coordinatore: Massimo Mastrorillo
Workshop in presenza a Roma con: Jason Koxvold (Gnomic Book), Giuliana Prucca (Avarie), Batia Suter

Attiva dal 2015, l’Academy offre alta qualità formativa basata su collaborazione e accessibilità. I posti sono limitati.

💥 EARLY BIRD: Tariffa agevolata per iscrizioni entro il 31 Luglio.
📩 Info e candidature: doitoriginalorrenounce@gmail.com

[EN]
Applications are open for Door Academy – Divergent Visions “Personal Vision” 2026/2027, an international master’s program in contemporary photography. The program serves as a creative lab to develop an independent visual language and execute a complete photographic project.

Program details:

Duration: 8 months (from early November 2026 to June 2027)
Format: Online (bi-weekly meetings & monthly 1:1 sessions) + final in-person meeting (September/October 2027)
Coordinator: Massimo Mastrorillo
In-person workshops in Rome with: Jason Koxvold (Gnomic Book), Giuliana Prucca (Avarie), Batia Suter

Since 2015, Door Academy delivers top-tier education through an accessible and collaborative approach. Limited slots.

💥 EARLY BIRD: Reduced fee for registrations by July 31st.
📩 Info and applications: doitoriginalorrenounce@gmail.com

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Quick reminder before the holiday WE in the US that submissions for JRNL Mag close this Sunday, July 5, EOD!

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“For this series titled “Stock Pile” I make work inspired by prompts from well-known stock photo companies. I’ve had a fascination with stock photography for some time, with its generic ubiquity and bland cheeriness. Stock photographs are designed to be seamless and adaptable, to illustrate rather than express. It’s both invisible and everywhere, and ripe for parody.

Stock photo companies put out briefs telling photographers what is going to be in demand that month or year. In response, I make work using what is readily available to me—my home, my surroundings, myself, and my family. I follow the prompts closely, but with deliberate misreadings: taking instructions too literally, amplifying their absurdity, or isolating a phrase that reveals an unexpected tension. The resulting images and videos are quick, improvised, and materially modest.

By heightening the logic of the briefs, I expose their underlying assumptions about aspiration, productivity, wellness, and the human relationship to nature. Many of the prompts reveal capitalism’s desire to aestheticize everything—turning even intimacy, crisis, or environmental concern into marketable content. Through satire, I reclaim a sense of authorship that stock photography typically erases.

Over time, the project has also taken on the dimension of an archive. As AI-generated imagery increasingly replaces traditional stock photography, I now view this series as archiving a certain aesthetic—these works document a particular visual economy and its peculiar logic, shaped by trend forecasting and market prediction.

Each image is accompanied by the original prompt that inspired it. By including the source language I invite viewers to consider the relationship between instruction and interpretation, production and parody, authorship and automation.”

– @arecaroe

Areca Roe uses photography as well as video, sculpture, and installation to explore the interface between the natural and human domains. Roe is a Professor of photography and video @mnstatemankato, and a member of @rosalux_gallery.

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Thrilled that You Can Now magazine has been awarded a Silver at the @artdirectorsclub awards for magazine and newspaper design and art direction. Thanks to a great client in @thisisycn , and fantastic contributors including:

@igorbastidas
@mike_lemanski
@simonlandrein
@vivekvad
@nickballon
@maxmiechowski
@felixodell
@jasperfry
@kox
@wandilton
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Editor: @johnsunyer
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#adcawards #magazinedesign #editorialdesign #artdirection #typography

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Now we get into the work-in-progress part of the week, and I should begin by going back to my first post. In 2015, while researching landscapes in Kuwait for Everything, and Nothing, I noticed that Kuwait still hosts a lot of US military bases - at the time it was about fifteen, I think. As I looked into them, they seemed like hastily-built US cities: concrete, cinder block and plywood, with Pizza Huts and Burger Kings. I wanted to photograph them. Over the next ten years I visited Kuwait, the UAE, Afghanistan, and Iraq, as well as bases in the US like Creech and Nellis.

It’s my opinion that a country can’t be at war for decades at a time without that seeping back into domestic culture, and I think today people are just starting to realise how significantly this has affected us. The initial sense of futility in protesting against the Iraq war turned to apathy. Photo editors would tell me that the public wasn’t interested in Afghanistan; the news cycle had moved on. The state of constant war had become background noise; there would be occasional bursts of outrage at how local police departments were receiving MRAPs that had rotated out of service, as “warrior cops” posed proudly in full battle rattle looking like they were about to storm Fallujah again, but there was never any meaningful discussion around these seismic cultural shifts. The events of recent months appear to have shocked America, but all of this was entirely predictable. Now we find ourselves dropping MOABs on Iran, abducting world leaders in the middle of the night, executing protesters in the streets in Minneapolis.

Here are some of the images from the places I mentioned.

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We’re talking about Fascism these days as it becomes more visible on the streets. The shocking and visceral ICE debacle has ignited the ire of a lot of folks, but it’s also not new. In the US, police kill 1,000 civilians a year - a number that doesn’t fluctuate much, regardless of who is in power. We also have an uncomfortable track record of torture, both domestically and “downrange”.

I had long wanted to make a project around my Grandfather’s memoirs from the Italian Resistance, and to draw comparisons across thousands of miles and 70 years of history. Were he working today, he would have been labeled a “terrorist” by the state, as Alex Pretti and Renee Good were. And while, unlike them, he was responsible for the end of some 100 Nazis and Fascists, he wasn’t summarily executed in the street by masked goons. He was, however, tortured multiple times, but ultimately survived the war.

The word “terrorist” is heavily loaded. Its invocation instantly neuters most discussion - “you’re either with us, or you’re with the terrorists”. It allows us to suspend conventional codes of ethics and legality. But once you strip away the layers of pain and fear that the word evokes, what’s left is asymmetric warfare - the need to do more with less. On the other hand, we stand behind a veil of pomp and circumstance in the way we prosecute wars - chains of command, tradition, pageantry; and distance, both physical and emotional.

Calle Tredici Martiri (Alley of the Thirteen Martyrs) is a reinterpretation of Aldo’s campaign against Nazi occupation. The title refers to the location of the Venetian headquarters of the National Republican Guard, which his team destroyed in 1944, killing 13. The following day, the Germans executed 13 Italian prisoners in retribution; after the war, the street was renamed “Calle Tredici Martiri”, to honour the fallen men.

Today, that building is the headquarters of the Venice Biennale, and you can sip a spritz on the Grand Canal with barely any idea of the blood that ran into the waters. So again, this project is about the power of capital and violence. It was truly a joy to work on, not least because Italy takes culture and history so seriously.

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Y.W.R.A.A. (You were right all along) followed Knives, and comprises a series of closed loops and inner monologues of characters pictured in Knives, letters unearthed from company archives, and comments posted on web sites.  Y.W.R.A.A. can be thought of as connective tissue between several different projects about economic and physical violence, made at a unique historical intersection in the United States as we bear witness to the decline of capitalism, the banality of mass shootings, and mistrust of the institutions that have held the country together. It bakes my noodle a bit to think that this was pre-COVID, pre-January 6, pre-Trump Sequel. 
This book marked a turning point in the way I think about the kinds of work I want to make, where I started to improvise and integrate different technologies into the works themselves - so, I’d manipulate data to make a rudimentary image; the device printing the book became an installation, and so on. There were numerous small experiments involving sensors, sound, and light which I would place in the landscape and later recover.

I made 25 copies of this book. The book block consists of images and text rendered as a single ASCII file printed on a continuous sheet of perforated paper, Japanese bound, and accompanied by individual insertions and archival prints. Each image in the book is located using military grid reference, designating sensitive locations like Bagram, Afghanistan; sniper training camps in Utah; the site of the mass killing in Las Vegas; and maximum security prisons.

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Hi there. This is Jason Koxvold, and I’ll be posting on @map6collective this week - very grateful to the team at MAP6 for the opportunity to show some work that people haven’t seen yet, and connect the dots between projects spanning the last seventeen years or so.

I’ve been living in the US since just before 9/11 - initially in San Francisco, then New York, and now Portland, OR. My attempts to understand that moment significantly altered my politics and how I experience the US, and its relationship with the rest of the world; becoming an artist gave me a space to explore those ideas.

My first project was called Everything, and Nothing — a study of global capitalism, which Stanley Wolukau-Wanambwa described as “the backstage landscapes of neoliberal growth”. I was interested in the visual language of capital, and the inevitable result of exploitation, commodification, and disposability; primarily seeing people as tiny specks struggling to parse their place in a world that was suddenly effortlessly connected, 7 billion of us competing for the same resources as supranational corporations influenced policy in ways that voters could never hope to.

Everything, and Nothing hasn’t yet been published, and was mostly a pre-Instagram deal, so many people haven’t seen that work. It’s where I began, and I’d love to finish it one day.

The last photo in this sequence was made in Kuwait and researching it opened the door to my next long-term project, Cease Buzzer - which itself was interrupted by the ascension of a reality tv actor and failed businessman to the office of the President. Those projects will follow here in the coming days. In the interest of making the trajectory understandable, I’m going to keep it essentially chronological. Let me know if you have any questions!

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We’re delighted to have Jason Koxvold as our next Guest Takeover @kox

Jason Koxvold (@kox) is a Norwegian-Italian artist focusing on the shared spaces between neoliberal economic policy and state violence. He has made work in diverse locations, from Afghanistan to Nigeria, Arctic Russia to South Africa. His work is primarily lens-based, and in recent years has expanded to include sculpture, digital performance, and installation works.

His first monograph, Knives, was published in 2017, followed by You Were Right All Along (2018), Calle Tredici Martiri (2019) and Engage and Destroy (2023). He is also the founder of Gnomic Book (@gnomicbook), an imprint focused on challenging subjects by emerging artists, and has published over 25 books in this capacity.

Jason has exhibited in solo and group shows in the United States, Britain, France, and Japan. His work has been featured in publications including The British Journal of Photography, Aperture, the Financial Times Magazine, Der Greif, Wired, Le Litteraire, Newsweek, Gestalten, Thisispaper, The Great Leap Sideways, Mother Jones, and Slate.

He currently lives and works in Portland, OR.

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It’s been a full week of traveling, jet-lagging, and picking up certificates along the way.
1. 20 years after moving to Canada, I finally became a citizen.
2. “Zero Hour” won the Silver Medal in the German Photobook Award. Thank you so much @festivalfotografischerbilder @deutscher_fotobuchpreis @gnomicbook

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